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Explosions In The Sky

Take Care, Take Care, Take Care

In the four years since the release of Explosions In The Sky's previous album, All of a Sudden I Miss Everyone, they've amassed a steady stream of unlikely achievements for a band most known for stirring instrumentals that often push the 10 minute mark. They toured with The Flaming Lips, headlined a sold-out Central Park concert, performed on the legendary Austin City Limits television program, and curated the world-renowned ATP Festival, all with the humble resolve of a band who still hauls all of their own gear on and off the stage every night. And let's not forget their indelible impact on the cultural landscape of film and television since their breakthrough score for Friday Night Lights marked an aesthetic shift towards evocative, real-life grittiness in mainstream cinema.

On their fifth album, Take Care, Take Care, Take Care, the band take some of their greatest creative leaps yet, experimenting with layers of haunting, unplaceable sounds, euphoric vocals, classical guitar, body percussion, Japanese singing bowls and more. With solitary focus and collaborative vision, each instrument clearly exudes the spirit and inspiration of its player, squeezing more expression and lyricism out of guitars and drums than most singers could ever conjure with their voices.

The Wilderness

Features An 8-Panel Gatefold Jacket With O-Card Slipcase

The Wilderness is Explosions In The Sky's sixth album, and first non-soundtrack release since 2011's Take Care, Take Care, Take Care. True to its title, The Wilderness explores the infinite unknown, utilizing several of the band's own definitions of "space (outer space, mental space, physical geography of space) as compositional tools. The band uses their gift for dynamics and texture in new and unique ways-rather than intuitively fill those empty spaces, they shine a light into them to illuminate all the colors of the dark. From the electronic textures of the opening track to the ambient dissolve of closer "Landing Cliffs," The Wilderness is an aggressively modern and forward-thinking work-one that wouldn't seem the slightest bit out of place on a shelf between original pressings of Meddle and Obscured By Clouds. It is an album where shoegaze, electronic experimentation, punk damaged dub, noise, and ambient folk somehow coexist without a hint of contrivance-and cohere into some of the most memorable and listenable moments of the band's expansive body of work-"proper" studio albums and major motion picture soundtracks alike.

The progressive ambience of early Peter Gabriel, the triumphant romanticism of The Cure in their prime, and the more melancholy moments of Fleetwood Mac all inform the curious beauty of The Wilderness. The uncanny ability to reconcile the tension between discordant, nightmarish cacophony and laid-back, Laurel Canyon-inspired folk-rock is a cornerstone of this album, and the center of Explosions In The Sky's remarkable evolution. If The Earth Is Not A Cold Dead Place was the defining album of Explosions In The Sky's career, The Wilderness is the band's [re]defining album.

All Of A Sudden I Miss Everyone

Known for bringing an emotional heft and sense of hope to a usually placid genre, Explosions In The Sky have experienced the kind of meteoric rise in popularity that flies in the face of music industry convention. Their songs are too long for radio play or commercial music videos; they avoid performing in LiveNation/Clear Channel venues; they didn't jump to a major label; and they don't sing. After scoring the film Friday Night Lights, they took two years to work on this record, which is a massive leap forward, showcasing a broader instrumental range and their most focused, efficient songwriting. RIYL: Radiohead, Sigur Ros, Mogwai, Godspeed You! Black Emperor, Mono.

1. Birth and Death of the Day, The2. Welcome, Ghosts3. It's Natural to Be Afraid4. What Do You Gome Home to?5. Catastrophe and the Cure6. So Long, Lonesome

Those Who Tell The Truth Shall Die, Those Who Tell the Truth Shall Live Forever

Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever is the second album recorded by post-rock band Explosions in the Sky, released on September 4, 2001. It is their first album released on the Temporary Residence label û the band was previously on the Sad Loud America label.

1. Greet Death2. Yasmin The Light3. Moon Is Down4. Have You Passed Through This Night?5. A Poor Man's Memory6. With Tired Eyes, Tired Minds, Tired Souls, We Slept

Sky Blue Sky

2-LP Wilco Set also Comes Complete with the CD of the Album!

It's been a while since the last offering from Jeff Tweedy and Co, but three years of slavering from fans is about to be rewarded with this seventh studio album. Well... Sky Blue Sky was well worth the wait! Though Wilco are known as purveyors of alt country rock, Sky Blue Sky is an astounding demonstration of their ability to move between soulful acoustic folk, jazzy blues, country skank and pumping rock. Tweedy has the vocal range of three people, from country lilt to blues ache to folk sweetness - all this often in the space of one song. And what songs they are. 'You Are My Face' is a classic Wilco segue, as a sleepy 'Beatles-esque' ditty is suddenly interrupted with a jazz guitar explosion twinned with Tweedy's achy blues voice before returning seamlessly to piano tinkle and smooth vocals. There are stories of love lost and found, told with originality, humour and sweetness. 'How can I warn you my tongue turns to dust? Lack of disgust doesn't mean that I don't care. It means I'm partially there,' sings Tweedy on the delicately beautiful 'Please Be Patient With Me'. The instrumentation is a mini-rock opera in itself. Glorious riffs, thumping piano and virtuoso guitar solos from Nels Cline are orchestrated with skill, complementing the intricately composed and woven melodies. Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime. Our highest recommedation!

Wilcos first studio album in three years, Sky Blue Sky, has been perhaps the most ardently awaited release of 07. Eager fans had taken to shouting out pleas for information to bandleader Jeff Tweedy during his recent solo acoustic tour, and the web chatter has been virtually deafening. Critic Katie Toms of Londons The Observer addressed fan speculation in an advance review, declaring, with unalloyed delight: Boy, was it worth the wait.... Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime.

Sky Blue Sky is as eloquently straightforward as Wilcos last studio recording, the Grammy-winning A Ghost Is Born, was daringly experimental. Tweedys lyrics deal forthrightly with romantic separation and reconciliation, their bittersweet quality giving way, as the album progresses, to a more uplifting, redemptive mood. Tweedy quite literally banishes the darkness on the penultimate track, the inspiring, gospel-tinged What Lightthe albums first singleand concludes with a deeply affecting, til-death-do-us-part lullaby, On and On and On.

There are hints of early-seventies Southern California folk-rock sweetness in the harmonies throughout the band-produced Sky Blue Sky, a bluesy Allman Brothers feel to the guitar /keyboard interplay, and plenty of brash guitar solos that take songs like You Are My Face and Shake It Off in thrilling, unexpected directions. This is especially good news for the crowds that will fill the Bonnaroo Festival in Manchester, Tennessee, this June, where the band plays the first U.S. date of its 2007 world tour in support of Sky Blue Sky. Principal songwriter Tweedy cut these tracks in the bands Chicago studio with members John Stirratt (bass, vocals), Glenn Kotche (drums), Mike Jorgensen (keyboards), Nels Cline (guitars) and Pat Sansone (guitars, keyboards, vocals)all of whom are also becoming notable performers in their own right. A Ghost Is Born co-producer Jim ORourke returns as music contributor.

1. Either Way2. You Are My Face3. Impossible Germany4. Sky Blue Sky5. Side With the Seeds6. Shake It Off7. Please Be Patient With Me8. Hate It Here9. Leave Me (Like You Found Me)10. Walken11. What Light12. On and on and on

Maze of Woods

Inventions are the collaborative sum of longtime friends Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. Their 2014 eponymous debut album introduced an ambition to create music that was both challenging and comforting. Their new album, Maze of Woods, opens with a vocal sample declaring, I wanted to do something that I don't know how to do. Using this as a mission statement, Inventions have crafted a complex and exuberant album from an array of instruments, samples, found sounds, beats, chants, and raw bursts of noise, with a much greater emphasis on strong vocal accompaniment in every song. Two albums released in the span of 10 months speaks to the drive that these two have felt since they started playing together. Much like on the first record, they again mixed the album in a house on the Oregon coastline, with final mixing and production all done by Smith and Cooper. Inventions have stated that much of the inspiration for Maze of Woods comes from the closing paragraph of Denis Johnson's novella Train Dreams. In that paragraph, Johnson describes the nonverbal howl of a feral wolf boy, a pre-language that is yearning and instinctual; a statement of wordless distress and love. Maze of Woods is the product of two masters of their craft getting lost in the wilderness, doing something that they don't know how to do, and emerging with something wholly unexpected and beguilingly beautiful.

1. Escapers2. Springworlds3. Peregrine

4. Slow Breathing Circuit

5. A Wind From All Directions6. Wolfkids

7. Moanmusic8. Feeling The Sun Thru The Earth At Night

Inventions

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Falling Off The Sky

Falling Off the Sky is the first new dB's album in a quarter-century. It's been three decades since the original lineup of Peter Holsapple, Chris Stamey, Gene Holder and Will Rigby recorded the beloved early-'80s classics Stands for deciBels and Repercussion. The North Carolina-via-New York foursome's vintage releases are now widely revered as alt-pop landmarks. Falling Off the Sky embodies the same combination of infectious melodic craft, playful sonic experimentalism and barbed lyrical insight that established the dB's as key progenitors of the Southern indie-rock explosion of the '80s.

1. That Time Is Gone2. Before We Were Born3. The Wonder Of Love4. Write Back5. Far Away And Long Ago6. Send Me Something Real7. World To Cry8. The Adventures Of Albatross And Doggerel9. I Didn't Mean To Say That10. Remember (Falling Off The Sky)

I Bet On Sky

There is nothing quite like a Dinosaur Jr. album. The best ones are always recognizable from the first notes.

And even though J tries to trip us up by smearing Don't Pretend You Didn't Know with keyboards, it's clear from the moment he starts his vocals that this is the one and only Dinosaur Jr., long reigning kings of Amherst, Massachusetts (and anywhere else they choose to hang their toques).

I Bet on Sky is the third Dinosaur Jr. album since the original trio - J Mascis, Lou Barlow and Murph - reformed in 2005. And, crazily, it marks the band's 10th studio album since their debut on Homestead Records in 1985.

Back in the '80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort. The trio's early shows were so full of sonic chaos, such a weird blend of aggression and catatonia that we all assumed they would flame out fast. But the joke was on us.

The trio has taken everything they've learned from the various projects they tackled over the years, and poured it directly into their current mix. J's guitar approaches some of its most unhinged playing here, but there's a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that's another milieu). This is head-bobbing riff-romance at the apex. Lou's basswork shows a lot more melodicism now as well, although his two songs on I Bet on Sky retain the jagged rhythmic edge that has so often marked his work. And Murph...well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to interweave themselves perfectly with his bandmates' melodic explosions!

1. Don't Pretend You Didn't Know2. Watch The Corners3. Almost Fare4. Stick A Toe In5. Rude6. I Know It Oh So Well7. Pierce The Morning Rain8. What Was That9. Recognition10. See It On Your Side

Take It All In

Austin's own The Steps will release Take It All In, produced by Chris 'Frenchie' Smith (JET, Dandy Warhols, Explosions in the Sky). The EP distills the band's '60s influenced garage rock to its most potent and frenetic form.

Formed in 2005 while still in high school, The Steps first achieved international success with releases and tours in the U.K. and Japan. Launched by a strong Texas following, the band has shared the stage with Bob Dylan, The Raconteurs, and the Black Keys.

Born under the influence of classic rock in the Live Music Capital of the World, The Steps chisel through modern rock with '60s sensibilities. The band made their recording debut with a 7 vinyl single brought by Young and Lost Club Records (U.K.), followed by a tour of London. Their eponymous full length, produced by Chris 'Frenchie' Smith (Jet, Dandy Warhols) set up a short tour of Japan, where the band made several television and radio appearances.

Prince Avalanche

The post-rock grandeur of Explosions in the Sky lends itself well to movies and television, so much so that the Texas foursome are pretty much synonymous with Friday Night Lights. The instrumental unit will further capitalize on their cinematic flair by releasing their original score to Prince Avalanche, the latest film from director David Gordon Green.

Explosions in the Sky teamed with composer/longtime Green collaborator David Wingo (also of Ola Podrida) to write the 15-track score, which will be issued through Temporary Residence Ltd.

- Kyle McGovern

1. Fires2. Theme From Prince Avalanche3. Dear Madison4. Passing Time5. Rain6. Alone Time7. Hello, Is This Your House?8. Can't We Just Listen to the Silence9. Wading10. Dear Alvin11. The Lines on the Road That Lead You Back Home12. An Old Peasant Like Me13. Join Me on My Avalanche14. The Adventures of Alvin and Lance15. Send Off

Lisbon

Lisbon was recorded over the course of eight months beginning in the fall of 2009 with You & Me producer Chris Zane (Passion Pit, Les Savy Fav, Tokyo Police Club). The band then traveled to Dallas to finish the album with producer John Congleton (St. Vincent, Explosions in the Sky). Featuring the band's signature vintage instrument-sound, Lisbon showcases a lot of stuff that's Elvis-sounding, like early Elvis and Sun Records kind of sounds, says frontman Hamilton Leithauser.

Out Of Sync With Time

A debut album as beautifully dark as Nervous Curtains' Out of Sync With Time is probably the last thing you'd expect to come out of Dallas, Texas. But just as bands like Explosions in the Sky and Ghostland Observatory have managed to defy the mighty country tones of America's gruffest commonwealth, so now do the Curtains debunk any theory suggesting that the Lone Star State's music scene is defined solely by lap steel guitars and cowboy hats.

1. Accomplice2. All Yesterday's Parties3. Bad Neighbor 4. Losing Touch With One of My Senses5. Hearing Something That Isn't There6. Falling Out of Sync with Time 7. White Van Scam 8. Indebted to the Cause 9. Jesus and Tequila 10. It's Cramped in the Casket

Skyline

Yann Tiersen releases his second US album, Skyline, April 17 on Anti- Records. Skyline finds Tiersen taking a confident step forward, cementing the sound of its darker predecessor, the critically acclaimed Dust Lane. Recording with his usual large ensemble, Tiersen continues his explorations of rock and progressive sonics with a cinematic palette, but this time with a more rock feel that recalls bands from Pink Floyd to Explosions in the Sky and M83.

Ghosts Go Blind

David Wingo is a busy man. In the years since the release of his last record as Ola Podrida, he's written and recorded soundtracks for several movies including Take Shelter (winner of the Grand Prix at Cannes in 2011), MUD (starring Matthew McConaughey and Reese Witherspoon), and Prince Avalanche (starring Paul Rudd and Emile Hirsch and co-composed with Explosions In The Sky), both of which are seeing wide release this coming spring/summer.

1. Not Ready To Stop2. Fumbling For The Light3. Washing Away4. Blind To The Blues5. Staying In6. Ghosts Go Blind7. Speed Of Light8. Some Sweet Relief9. The Notes Remain

Inventions

Inventions is the new band formed by longtime friends, tourmates, and labelmates Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. There are plenty of talking points here: The fact that Cooper hasn't been in a "band" of any sort since he was a teenager; no member of Explosions In The Sky has released an album outside of the context of EITS since their inception in the late 90s; and, of course, this is a dream duo for anyone familiar with the unparalleled emotional resonance of Cooper and Smith's respective day jobs. However, thirty seconds into their eponymous debut album, you realize that the esteemed pedigree is irrelevant. Inventions exceeds all expectations by discarding them from the get-go. They have created their own tiny, wondrous corner of the world, one with ever-changing sounds and colors.

Inventions began in earnest last year when Cooper invited Smith to collaborate on a song for Eluvium's otherworldly double-album, Nightmare Ending. The track, "Envenom Mettle", was a standout on an album full of them, and just like that a longstanding friendship blossomed into a full-fledged creative partnership. The following six months the duo continued to send audio files back and forth to each other from their respective homes in Portland, Oregon and Austin, Texas. The collaboration proved fruitful, inspiring, and truly enjoyable from the outset, and in less than a year they had amassed more than an album's worth of material. They traveled together to a secluded beach house on the Oregon coast to complete the album, an environment that proved not only highly productive but also clearly influential on the album's windswept beauty and warm vibrations. Across eight songs the duo explore the delicate and disturbing - and virtually everything in-between - with majestic abandon. It's the kind of beauty and brilliance that only masters of their craft can accomplish when all egos and expectations are cast aside in pursuit of the splendor of sound.

We The Common

We The Common, the third full-length album from critically acclaimed artist Thao & The Get Down Stay Down. Recorded at San Francisco's Tiny Telephone Studios and Dallas' Elmwood Studio, We The Common was produced by John Congleton [St. Vincent, Bill Callahan, Explosions In The Sky] and features a duet with Joanna Newsom on the track "Kindness Be Conceived." Thao Nguyen observes, We The Common is an album about wanting to be a human who tries and is grateful for the opportunity. It is about wanting to be better and closer to people. "I have had over a year respite from touring and recording-in this year I started really trying to be a part of the community I live in and the family I was born into."

1. We The Common [For Valerie Bolden]2. City3. We Don't Call4. The Feeling Kind5. Holy Roller6. Kindness Be Conceived7. The Day Long8. Every Body9. Move10. Clouds For Brains11. Human Heart12. Age Of Ice

Path Of Totality

Tombs tap into the infinite well of emotion and expression on their astounding new full-length Path of Totality. Recorded by John Congleton (Baroness, Explosions in the Sky), Path of Totality is a massive step forward in songwriting and scope for the trio. The album finds the band achieving what their previous recordings had always hinted at, an ultimately heavy and nuanced fusion of their disparate influences.

Bloodletters and Constellations see the band flex its prodigious muscle; Vermillion and Cold Dark Eyes wrap arms of blackened misery around the listener, while the profound sadness of Silent World and Passageways further explores the trios UK post-punk influences. With Path of Totality, Tombs has come into their own as one of the finest heavy bands in the world.

Orphan

"Sharp, creative and bringing a commendable freshness to the sometimes drearily derivative world of contemporary rock, Empires are a remarkably good rock 'n' roll band. In a world full of faceless, regurgitated rhythms and emotion-by-numbers, the band's music is strikingly compact, precise and non-excessive: There is a there there, and there are no wasted notes anywhere Their music is some of this year's very best"-Rolling Stone

Produced by John Congleton (St. Vincent, Cloud Nothings, The War on Drugs, Explosions in the Sky), Orphan is a collection of songs immersed in classic post punk and indie rock 'n' roll circa 1989-1991, exploring the sonic adventurers and emotional heft of artists such as Roxy Music, Wire, and Nick Cave & The Bad Seeds.

The guitars are rich and atmospheric, the rhythms subtle and fluid yet more powerful at the same time. Throughout the album, singer SeanVan Vleet's raw croon rises to match the band's musicality, conveying anxieties, secrets, and a heartfelt longing for transcendence.

White Wilderness

The newest entry into John Vanderslice's deep and undeniably remarkable catalog is White Wilderness, and it's a record like no other he's made before. These nine new and wildly impressive JV songs were captured live over three days in a unique collaboration with the Magik*Magik Orchestra, a collective of classically trained musicians in the Bay Area led by artistic director Minna Choi.

The Magik*Magik Orchestra have a comprehensive mastery of classic performance and repertoire, but also have a full appreciation of the aesthetics of indie and underground music. Choi arranged and conducted White Wilderness with 19 members of the Magik*Magik playing strings and horns, vibraphone, pedal steel and piano, an assortment of reed instruments, and much to JV's benefit, the voice of Minna Choi singing backup at key moments throughout the album.

Recorded in San Francisco, White Wilderness was produced by John Congleton, whose resume includes albums by St Vincent, The Walkmen, Explosions in the Sky, Bill Callahan and many more. The results are stunning, and White Wilderness is a breath of fresh air for JV, as well as a great stake in the ground for his career of making stellar records.

The Body Wins

Sarah Jaffe started work on The Body Wins the day she bought a bass and a drum set at a pawnshop. That day, she wrote the rhythmic A Sucker For Your Marketing and her second full-length began to take shape. Jaffe had pent-up creative energy inside her, after spending most of the year traveling and touring behind her debut Suburban Nature, and she explores it with abandon here.

There's a side of The Body Wins that didn't exist with Jaffe on her debut and it has a newfound pulse to it, more than a heartbeat, not quite a breakbeat. Glorified High, the first single perfectly captures that with a chorus that smacks you in the chest and lovingly lingers.

The Body Wins may sound different to those introduced to Jaffe through Suburban Nature and it should as it's more of a product of everywhere she's been, literally and figuratively, and a hint of everywhere she might go from here. Produced by John Congelton (St. Vincent, Walkmen, Clap Your Hands Say Yeah, Explosions in the Sky.)

Nightingale Floors

Nightingale Floors is the fifth studio album from Rogue Wave. This release follows the band's 2010 album Permalight and the debut track from the album, titled College, is already streaming via Soundcloud.

The brainchild of Zach Schwartz (aka Zach Rogue) Rogue Wave formed in 2002 in Oakland, CA. While the line-up has changed from album to album the two constants have always been Zach and drummer Pat Spurgeon. Nightingale Floors finds the group secure in its sound and brimming with confidence. The result can only be described as a triumphant return to form.

Meditations on life and death dominate Nightingale Floors, in large part because Rogue's father passed away during the writing of the record. But far from being a downer, Rogue has used the experience to find peace and, ultimately, happiness in facing up to the short time we have on Earth and appreciate everything around him. Much has been written about Rogue Wave's misfortune over the years, and it's true that for such a nice bunch of guys, they certainly have had their fair share of bad luck.

Rogue Wave tapped Release The Sunbird s mixer John Congleton (whose impressive rÉsumÉ includes Modest Mouse, The Walkmen, David Byrne & St. Vincent, and Explosions In The Sky) to produce the record just north of Oakland at Cotati's Prairie Sun Recording Studios. With the assistance of touring bassist Masanori Mark Christianson, Peter Wolf Crier s Peter Pisano (guitar), Sea Of Bees Jules Baenziger (vocals), and Mwahaha s Ross Peacock (synth manipulation), Rogue, Spurgeon, and Christianson channeled their energies into 10 smart, dynamic songs that range from opener No Magnatone and its dreamy washes of sound to the big, catchy rock of College to the gentle The Closer I Get to the moody yet epic closer Everyone Wants To Be You. The music is as thoughtfully conceived as you'd expect from Rogue Wave, and there s an emotional energy behind the tracks that lingers on long after the album's last note.

1. No Magnatone2. College3. Figured It Out4. Siren's Song5. The Closer I Get6. S(a)tan7. Used To It8. Without Pain9. When Sunday Morning Comes10. Everyone Wants To Be You

TigerFace (Awaiting Repress)

Over three previous studio albums, pianist/sound-sculptor/songwriter Marco Benevento has set forth a vision for instrumental music that connects the dots between Explosions In The Sky and Tortoise on one side, Brian Eno and Brad Mehldau on the other. On his fourth studio recording, 'Tigerface', the 34-year old artist takes the next step forward in this evolution. Benevento paints his songs in a myriad of sonic colors, shimmering in acoustic piano, synths and analog keyboards. The tunes themselves conceptualized from seemingly every wisp of melody, hook and cadence that s ever tickled his ear. The album was recorded and mixed by Tom Biller (Silversun Pickups, Fiona Apple) and Bryce Goggin (Pavement, Akron/Family), while Benevento invited a stellar cast of musicians to help capture his ideas, including drummers Matt Chamberlain (Bill Frisell, Pearl Jam), John McEntire (Tortoise, The Sea & The Cake) and Andrew Barr (The Barr Brothers), bassists Dave Dreiwitz (Ween), Reed Mathis (Tea Leaf Green) and Mike Gordon (Phish), violinist Ali Helnwein (Traction Avenue Chamber Orchestra) and saxophonist Stuart Bogie (Antibalas, Superhuman Happiness). For the first time on record he uses vocals, inviting Kalmia Traver (Rubblebucket) to sing on the infectious dance rock rave-up 'Limbs Of A Pine' and the pastoral psych rock meditation 'This Is How It Goes'. Other standouts include the angelic Arcade Fire meets The Flaming Lips anthem 'Eagle Rock', the soaring garage psychadelia of 'Going West', the piano riff rock jaunt 'Escape Horse', and the happily lilting 'Fireworks', which bounces along like a long lost Italian folk song beamed down to him by ancestors from his father s homeland. As anybody who's seen Benevento perform live can attest, the pianist eyes closed, smile wide across his face, fingers free-flowing across the keys is a satellite to the muse. 'Tigerface', indeed, is the commitment to this idea; a record that rides the yes wave and in the process becomes a soundtrack for fellow travelers chasing the horizon ahead.

1. Limbs Of A Pine2. This Is How It Goes3. Fireworks4. Going West5. Eagle Rock6. Soma7. Do What She Told You8. Escape Horse9. Basilicata10. This Is How It Goes (instrumental)

Drifting Your Majesty (Awaiting Repress)

The driving force behind Desertshore is the partnership between guitarist Phil Carney and keyboard player Chris Connolly. The former has played with both of sadcore king Mark Kozelek's bands, Red House Painters and Sun Kil Moon, and the latter has a classical background, though he also loves the gauzy, ethereal indie rock sounds that came out of England's 4AD label (which was also home to Red House Painters). With third man Dave Muench on drums and a couple of guests (including Kozelek), Carney and Connolly made Desertshore's all-instrumental debut album a place where all their varied influences intertwine.

The album's title offers a hint about the mood of the music -- Drifting Your Majesty maintains a haunting, dreamlike quality throughout its 14 tracks. Though these pieces are not without dynamics, they remain on the impressionistic, ethereal side, whether it's an intimate duet between Connolly and Carney that's taking place, or something more fully fleshed out with rhythm section and second guitar. As the tunes gently rise and fall, they roll rather seamlessly through a wide array of styles, blending psychedelia, post-rock, and international touches. Sometimes these tracks evoke the mellower, more contemplative circa end-of-1969 Neil Young or Grateful Dead improvisatory expeditions (Desertshore are, after all, a Bay Area band). At other points, there are echoes of a more contemporary post-rock sound à la Mogwai or Explosions in the Sky, and occasionally, Connolly and Carney dip into some Middle Eastern-tinged modalities, suggesting some quality time spent listening to early world music-inclined '60s guitarists like Peter Walker and Sandy Bull. Drifting Your Majesty manifests a moody, meditative feeling, but is never monochromatic.

Yellow & Green

Baroness, the Savannah-based quartet whose two prior releases (Red Album and Blue Record) were awarded record of the year honors from both Revolver and Decibel Magazines as well as repeatedly placing on year-end best of lists from Pitchfork and Village Voice, return with a new album titled Yellow & Green which will be released via Relapse Records.

Yellow & Green reunites Baroness with Blue Record producer John Congleton (Explosions in the Sky, St. Vincent, Xiu Xiu) following both the band's busiest period (multiple worldwide tours including stops at Coachella, Bonnaroo and Soundwave) and most luxurious year, having taken nearly all of 2011 off to freely write and demo material for their newest offering.

Yellow & Green finds the band as more than just giants of the metal underground, but now fully formed hard rock titans. Fans of the band have come to expect nothing less than constant evolution from Baroness and that is precisely what the band has delivered, but in ways no one could have anticipated: the hooks are immediately seared into your brain, riffs that take just one listen to fully lodge themselves in your consciousness and vocals that are sung both heavily and beautifully.

Some songs are more delicate than Baroness ever hinted at before while others are straight up arena rockers, yet all along Yellow & Green is unmistakingly the Baroness that the world has come to love and look to for Record of the Year quality rock and roll. It's not hard to imagine any one of the 18 songs that fill out Yellow & Green being rock radio anthems, and deservedly so.

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